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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.6
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- 245 - 267 (23page)
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Discourses of racial and gender difference were widely practiced throughout the Elizabethan and Jacobean period, and they have been highlighted as the central issue in Shakespeare's Antony and Cleopatra. The purpose of this paper is to discuss those discourses about Cleopatra, an Egyptian Queen, and Shakespeare's way of representation of racial and gender differences. This paper investigates both the stereotypes applied to characterizing Cleopatra and the historical backgrounds which made the stereotypes possible.
Cleopatra is represented as a dangerous racial Other by the characters in the play. Philo, a Roman general, constantly verbalizes the discourse of a racial prejudice against Cleopatra. In the beginning of the play, he criticizes Antony who became "the bellows and the fan to cool a gipsy's lust" (1.1.9-10) and "a strumpet's fool" (1.1.13). Philo calls Cleopatra a lascivious "gipsy" who seduced a Roman hero, Antony, with dangerous sexuality. His generalization about the Egyptian woman as a whore or a witch is a prime example of racist discourse and misogynist discourse. Those discourses have operated on shaping the negative stereotypes of Cleopatra.
Pompey calls Cleopatra a witch who ties up Antony with her witchcraft and "the charms of love" (2.1.20-21). According to Scarus, Antony is "a doting mallard" who flies after Cleopatra, a "ribaudred of Egypt" (3.10.20). Antony calls her "a morsel cold upon dead Caesar's trencher" (3.13.116-17), a "triple-turned whore" who has betrayed him (4.12.13), and "a false soul of Egypt" or an "enchanting queen" who has "a grave charm" (4.12.24-25). These expressions reveal the prejudice against the Egyptian woman.
Shakespeare's Cleopatra is not simply his own artistic creation but a cultural construction which reflects the cultural prejudice about Cleopatra and Egyptian culture. Shakespeare was influenced by racial and gender discourses of his time. However, he was skeptical about those discourses; he did not fully agree with those dominant discourses. In the play, he reveals the negative image of the white male Roman hero, Antony, and presents Cleopatra's way of resistance against those discourses, revealing Cleopatra's "infinite variety" and theatricality with which she gains control over Antony.
Cleopatra is represented as a dangerous racial Other by the characters in the play. Philo, a Roman general, constantly verbalizes the discourse of a racial prejudice against Cleopatra. In the beginning of the play, he criticizes Antony who became "the bellows and the fan to cool a gipsy's lust" (1.1.9-10) and "a strumpet's fool" (1.1.13). Philo calls Cleopatra a lascivious "gipsy" who seduced a Roman hero, Antony, with dangerous sexuality. His generalization about the Egyptian woman as a whore or a witch is a prime example of racist discourse and misogynist discourse. Those discourses have operated on shaping the negative stereotypes of Cleopatra.
Pompey calls Cleopatra a witch who ties up Antony with her witchcraft and "the charms of love" (2.1.20-21). According to Scarus, Antony is "a doting mallard" who flies after Cleopatra, a "ribaudred of Egypt" (3.10.20). Antony calls her "a morsel cold upon dead Caesar's trencher" (3.13.116-17), a "triple-turned whore" who has betrayed him (4.12.13), and "a false soul of Egypt" or an "enchanting queen" who has "a grave charm" (4.12.24-25). These expressions reveal the prejudice against the Egyptian woman.
Shakespeare's Cleopatra is not simply his own artistic creation but a cultural construction which reflects the cultural prejudice about Cleopatra and Egyptian culture. Shakespeare was influenced by racial and gender discourses of his time. However, he was skeptical about those discourses; he did not fully agree with those dominant discourses. In the play, he reveals the negative image of the white male Roman hero, Antony, and presents Cleopatra's way of resistance against those discourses, revealing Cleopatra's "infinite variety" and theatricality with which she gains control over Antony.
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